Cherry, Christian
Black, Laura
2015-01-14T15:59:37Z
2015-01-14T15:59:37Z
2015-01-14
http://hdl.handle.net/1794/18746
This thesis describes the unique development and execution of a practice of improvisational dance through the lens of non-attachment. The ephemeral nature of dance as discussed by Maxine Sheets-Johnston is compared to a method of engaging the world with acceptance of what is without expectation or judgment as described in writings on various Eastern concepts of non-attachment through mindful practice. Parallels are noted between the aforementioned writings and works on non-attachment by Sahdra, Shaver, and Brown as well as Patanjali's Yoga Sutras to demonstrate the capacity of improvisational dance as a mode of practicing non-attachment. The author's experience in exploration through her own improvisational practice is compared with other movement practices stemming from eastern traditions interested in non-attachment as a mind-balancing pursuit. Progress toward non-attachment as a result of this committed practice is quantitatively demonstrated through the use of a Likert-style scaled questionnaire.
en_US
University of Oregon
All Rights Reserved.
Improvisation
Non-Attachment
Phenomenology
{Sati} {Natya} / Mindfulness in Movement: An Investigation of Practicing Mindfulness in Improvisational Dance Through the Lens of Non-Attachment
Electronic Thesis or Dissertation
M.F.A.
masters
Department of Dance
University of Oregon

Kruckenberg, Lori
Pyle, Sarah
2015-01-14T15:59:16Z
2015-01-14T15:59:16Z
2015-01-14
http://hdl.handle.net/1794/18742
Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait subject and her instrument creates and is created by complex relationships ingrained by the dominant patriarchal structures that circumscribed women's lives at the time. To realize these interpretive goals, I have chosen two paintings that are less often discussed in art historical and musicological literature: the self-portrait attributed to Marietta Robusti, and St. Cecilia Playing the Keyboard in the style of Artemisia Gentileschi.
en_US
University of Oregon
All Rights Reserved.
Artemisia Gentileschi
Marietta Robusti
Musical iconography
St. Cecilia
Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues
Electronic Thesis or Dissertation
M.A.
masters
School of Music and Dance
University of Oregon

Rodgers, Stephen
Schell, Hallel
2015-01-14T15:56:45Z
2015-01-14T15:56:45Z
2015-01-14
http://hdl.handle.net/1794/18712
This study explores the experience of timelessness in music by examining the musical parameters that are in play and how those musical parameters affect and are affected by memory and expectation. I propose three types of musical timelessness that are derived from specific perceptual transitions and based on my analytical findings in music within the indie-rock, post-rock, and electronica/experimental music scenes.
en_US
University of Oregon
All Rights Reserved.
Expectation
Memory
Perception
Timelessness
Timelessness in Music
Electronic Thesis or Dissertation
Ph.D.
doctoral
School of Music and Dance
University of Oregon

Kyr, Robert
Paul, Evan
2015-01-14T15:56:29Z
2015-01-14T15:56:29Z
2015-01-14
http://hdl.handle.net/1794/18709
Rest is an English-language Requiem Mass for mixed choir and sixteen brass players. The text is translated into English by the composer from the original Latin and Greek. It comprises twelve movements, and a performance is approximately fifty-five minutes in length. The work serves as a continued exploration of composing for brass, begun in 2010. The work is constructed primarily from the tetrachordal triadic supersets--that is, tetrachords based on major and minor triads--connected through parsimonious voice-leading. Rest is my third mass in a series of works in various languages composed for various ensembles.
en_US
University of Oregon
All Rights Reserved.
Brass
Requiem
Rest: An American Requiem for Choir and Brass
Electronic Thesis or Dissertation
Ph.D.
doctoral
School of Music and Dance
University of Oregon

Kyr, Robert
Rosenblum, Diana
2015-01-14T15:56:20Z
2015-01-14
http://hdl.handle.net/1794/18707
Quadruple Quartet is a four-movement work scored for 16 players, four from each of the four instrumental families of the orchestra (i.e. woodwinds, brass, strings, percussion). This unique instrumentation utilizes a minimal number of musicians to create an orchestral sound, in which the distinct timbres of the orchestra are represented by one player per instrument (with certain individual players taking on conventional doublings, i.e. flute/piccolo). Each movement is self- contained, pursuing its own motivic ends through novel contrapuntal techniques, and is titled according to a salient trait. I. Contrapunctus is a fugue, whose expressive freedom lies paradoxically in its rigidity; II. Collage generates complexity through an increasing density of cycling layers, variously superimposed; III. Dovetail features a medley of widely-voiced tone-clusters arranged in overlapping threads of melody traded in a variety of timbral colors; IV. Ricochet makes playful, thematic use of a "rebounding" staccato motive.
en_US
University of Oregon
All Rights Reserved.
Quadruple Quartet: For a Chamber Orchestra of 16 Players
Electronic Thesis or Dissertation
2017-01-14
M.M.
masters
School of Music and Dance
University of Oregon